1958 – A Great Year for Recorded Music

 

  • This early pressing on the rainbow label earned excellent Double Plus (A++) grades for its wonderful sound
  • Both sides here are BIG, rich and Tubey Magical, yet clear and not the least bit thick or opaque
  • Turn down the lights and drop the needle to hear a living breathing Nat King Cole singing right in your very own listening room
  • “Highlights include “The Very Thought of You,” “But Beautiful,” “This Is All I Ask,” “For All We Know,” and “The More I See You”.

See all of our Nat King Cole albums in stock

We are HUGE fans of the album at Better Records, but it’s taken us a long time to pull together enough clean copies to make the shootout happen. Boy, was it worth all the trouble.

The presence and immediacy here of Nat King Cole’s vocals are ’50s Capitol Recording Magic at its best. Set the volume right and Nat is right between your speakers, putting on the performance of a lifetime. The selection of material and the contributions of all involved are hard to fault.

The sound is big, open, rich and full, with loads of Tubey Magic. The highs are extended and silky sweet. The bass is tight and punchy.

Midrange Magic to Die For

This Rainbow Label Capitol LP also has the MIDRANGE MAGIC that’s missing from the DCC reissue (and no doubt any others that will be coming down the pike). As good as some think that pressing is, this one is dramatically more REAL sounding.

Nat’s voice is sounds so right — not necessarily natural, but correct for the vocal style of the era — you immediately find yourself lost in the music, because there’s really nothing in the soundfield that sounds out of place.

If you’re like me, this copy sounds the way you want it to sound. Click on the Other Pressings tab above to read more on the subject.

Gordon Jenkins

We want to give a special shoutout here to conductor/arranger Gordon Jenkins, who also handled the same duties on Nilsson’s classic Must Own A Little Touch Of Schmillson in The Night. It’s yet another wonderfully well-produced album of standards that deserves a place in any serious record collection.

Jenkins worked with Nat King Cole on four albums for Capitol: Love Is the Thing (1957), The Very Thought of You (1958), Every Time I Feel the Spirit (1960) and Where Did Everyone Go? (1963).

He did three albums with Sinatra for Capitol: A Jolly Christmas From Frank Sinatra (1957), Where Are You? (1957) and No One Cares (1959), and five more after Sinatra moved to Reprise: All Alone (1962), September of My Years (1965), Ol’ Blue Eyes Is Back (1973), “Future” suite – Trilogy: Past Present Future (1980) and She Shot Me Down (1981).

Click HERE to see the records we currently have on the site that were (mostly) recorded in 1958.

Click HERE to see the records from 1958 that we’ve done Hot Stamper shootouts for (a substantially larger group as you can imagine).

Feats Don’t Fail Me Now

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  • The best copy to hit the site in close to two years, with both sides rating at or near our top grade of Triple Plus (A+++)
  • Huge, spacious and three-dimensional with plenty of rich Tubey Magic – who knew it could sound this good?
  • 75% of the songs on both sides are absolute Little Feat Classics. What other album can boast such consistently good songwriting?
  • Emmylou Harris, Bonnie Raitt and Fran Tate (the future Mrs. Billy Payne) contribute the lovely background vocals
  • “If Dixie Chicken represented a pinnacle of Lowell George as a songwriter and band leader, its sequel Feats Don’t Fail Me Now is the pinnacle of Little Feat as a group, showcasing each member at their finest.”

See all of our Little Feat albums in stock

It’s getting mighty hard to find clean copies of practically all the pre-Waiting For Columbus titles.

The good news we have to offer this time as opposed to last is that we can now clearly say that Feats Don’t Fail Me Now is the best sounding album of the first four the band recorded. We think the songs are great too; we would hope that goes without saying. Waiting For Columbus — their live masterpiece and inarguably the definitive recording statement by the band — has at least one song from this album on each of its four sides. That ought to tell you something. If only we could find good sounding copies! But enough about that album. Let’s talk about this one. (more…)

The Byrds Mr. Tambourine Man – What to Listen For

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Mr. Tambourine Man

Another in our series of Home Audio Exercises with advice on what you should be listening for when critically evaluating your copy (or ours) of the album.

Want to hear what the best copies of Mr. Tambourine Man can do? Play Chimes of Freedom, one of the best sounding tracks on side two, if not THE best. Listen to how breathy Jim (later Roger) McGuinn’s vocals are. Byrds records almost never sound like that.

I Knew I’d Want You is another one that sounds amazingly Tubey Magical on the best pressings. (more…)

Never a Dull Moment – Unless You’re Playing the DCC Heavy Vinyl…

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In which case you are in for an unending string of dull moments (see below). 

Never A Dull Moment

We were thrilled when we dropped the needle on side one and heard sound that was AMAZINGLY airy, open, and spacious.

It’s got all the elements necessary to let this music REALLY ROCK — stunning presence; super punchy drums; deep, tight bass; and tons of life and energy. Rod’s voice sounds just right with lots of breath, texture, and ambience. The sound is clean, clear, smooth, and sweet — that’s our sound.

Side two here is nearly as good and dramatically better sounding than most. Listen to the percussion on Angel — you can really hear all the transients and the sound of the drum skins.

On the same track, the meaty guitar in the left channel sounds mind-blowingly good. The bass is deep and well-defined, and the sound of the drums is awesome in every way. Who has a better drum sound than Rod Stewart on his two best albums? (more…)

Graham Nash / David Crosby

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More by C, S, N and/or Y

Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of the album.

This album has some of the BEST SOUND Crosby and Nash ever recorded, but you’d never know that listening to the average pressing. You need plenty of deliciously rich Tubey Magic if this music is going to work, and on that count this copy certainly delivers.

BILL HALVERSON was the engineer for this album, the man behind the first CSN album and many others.

We asked ourselves: Where in the world did all the midrange magic we were hearing on Graham Nash / David Crosby come from?

On a song like Where Will I Be the sound is so unbelievably transparent, open and intimate, it sounds like an outtake from David Crosby’s first album, one of the ten best sounding rock records ever made. How did Bill Halverson learn how to record as well as Stephen Barncard all of a sudden?

This Copy Is Killer

When you drop the needle on side one, you’ll know very quickly why we went so crazy for it — especially if you’ve been playing the kind of copies that we tend to run into, with veiled, hard, gritty voices — the kiss of death for a record that lives or dies by its vocal reproduction. (This is true for all CSN albums of course.)

This one is a whole different story, with wonderful clarity (listen to the acoustic guitar transients throughout) and silky sweet vocals. It’s got the kind of weight down low and extension up top needed to give the midrange the space — the room, if you like — to present itself properly and not get lost in the mix. The transparency is incredible, with richness and sweetness you have never heard on this album, guaranteed or your money back! (more…)

Ray Brown with The All-Star Big Band, Engineered by Ray Hall

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Ray Brown with The All-Star Big Band

These two sides offer bigger brass, more transparency and more presence than every other side we played save one!

This may become one of your favorite big band albums to demo or test with. Or you can just enjoy the hell out of it if you prefer. So transparent and tonally correct, this is a killer sounding copy. We put this one right up there with the best of the Verve jazz titles we’ve done to date.

This album sounds like a big room full of musicians playing live, which it surely was. The Tubey Magical richness of the 1962 recording is breathtaking – no modern record can touch it.

The best copies recreate a live studio space the size of which you will not believe. (more…)

Traveling Back in Time with Cat Stevens on MoFi


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to Hear It on Vintage Equipment

Our good customer Roger wrote us a letter years ago about his MoFi TEA FOR THE TILLERMAN, in which he remarked, “Sometimes I wish I kept my old crappy stereo to see if I could now tell what it was that made these audiophile pressings so attractive then.”

It got me to thinking. Yes, that would be fun, and better yet, it could be done. There are actually plenty of those Old School systems still around. Just look at what many of the forum posters — god bless ’em — are running. They’ve got some awesome ’70s Japanese turntables, some Monster Cable and some vintage tube gear and speakers going all the way back to the ’50s.

With this stuff you could in effect travel back in time, virtually erasing all the audio progress of the last 30 years. Then you could hear your MoFi Tea for the Tillerman sound the way it used to when you could actually stand to be in the same room with it.
(more…)

Live Sound Versus Chesky Sound

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Schubert / The Trout Quintet / Curzon

What I hear on this pressing is sound that is absolutely free from any top end boost, much the way live music is. There’s plenty of tape hiss and air; the highs aren’t rolled off, they’re just not boosted the way they normally are in a recording.

A few years back I had a chance to see a piano trio play locally; they even performed a piece by Schubert. The one thing I noticed immediately during their performance was how smooth and natural the top end was. I was no more than ten feet from the performers in a fairly reverberant room, and yet the sound I heard was the opposite of what passes in some circles for Hi-Fidelity.

More of the music of Franz Schubert (1797-1828)

This is the OPPOSITE of those echo-drenched recordings that some audiophiles seem to like, with microphones placed twenty feet away from the performers so that they are awash in “ambience.” If you know anything about us, you know that this is not our sound.

I have never heard live music sound like that and that should settle the question. It does in my mind anyway. The CHESKY label (just to choose one awful audiophile label to pick on) is a joke and always will be. How anyone buys into that phony sound is beyond me, but any audio show will prove to you that there is no shortage of audiophiles who love the Chesky “sound”, and probably never will be. (more…)

Building a World Class Record Collection…

One Customer’s Story

Dear Tom,

I want to thank you once again…

Quite a few years ago now I contacted you and talked about this concept called “hot stampers”…It ended up both saving me a lot of misdirection and foolishly trying to rebuild my vinyl collection with new vinyl re-releases often called “audiophile”  and “half-speed” issues.

After a few confirmations of what you said I quickly sold all those copies and began building a real world class collection of vinyl “original” hot stamper level records. A good number cam from your business and I also made a hobby of trying to do what you do in finding “hot stampers”.  Fortunately Philadelphia has a reasonable number of used record stores but unfortunately, as you well know, this is a rigorous and costly endeavor…..but it can be rewarding at times and at other times requires that I rely on you.  

So today I’m snowed in here so I fired up the rig and decided to do some small scale shoot outs and find the true great copies from my already culled collection. Put on several Hall and Oates and focused on “She’s Gone”… one was just clearly dynamic, clear and present…..then put on several Dire Straits “Love over Gold” and ended up with 3 killer copies (such a good lp).. I then put on about 5 copies of Phil Collins “Face Value” with “If Leaving Me is Hard”….What a great love song….and narrowed it to 2.

Yes my rig is really awesome for close up intimate listening at any level. It is something I have worked on for decades to become resolving, dynamic, harmonic, dimensional transparent, and involving. I can listen loud and close without distortion.  When I suddenly find that “hot stamper” Phil Collins is in the room where I hear his voice articulate and rich with background singers just as good and the band perfectly balanced to his vocal. 

And it is then I think of your contribution to all of this and want to tell you. So that is what I am doing. I know what three stars means…..I can’t afford many of them as I would assume some wealthy customers can but I really appreciate them and their unfortunate rarity….. and I appreciate all the work you have done to make this possible,

Sincerely,

Ed Z